fall 2009. unit 2. development module 10. color, depth, and space

Fall 2009

Unit 2. Development

Module 10. Color, Depth, and Space

ColorColor is more than filling in the drawing. • Color can have its own structural role to play in the

composition.• Generally, colors can be divided into warm, cool, and

neutral. • Warm colors are colors that have more yellow in them; • cool colors have more blue. • So, yellow and orange are warm, blue is cool. • Green, purple and red can be warm or cool, depending

how close each is to blue or yellow. • For example, a warm red is one which leans toward

yellow (vermilion); a cooler red would be one which has more blue or purple mixed in (alizarin crimson).

• Warm green has more yellow (cadmium green); cool green has more blue (viridian).

• A warm purple contains more red (cobalt violet); a cool purple contains more blue (mauve blue shade).

Module 10. Color, Depth, and Space 3

Color

• It actually gets a little more complicated than it seems, because by mixing more colors together, you can get warm and cool browns, grays, and other hues.

• Cool colors are thought to seem to recede in space (as often the distant trees and hills seem more blue than closer ones), so using cooler colors in the distance in a landscape can suggest depth.

• Color relationships are actually a very complex and often unpredictable element, and benefit from long experience and study.


Chroma and Value

• Chroma – intensity (saturation) of color High chroma colors create contrast, advance Use less to do more

• Value – brightness of colors Dark colors stand out Light colors recede

The Color Wheel

• The three primary colors (red, yellow and blue) are equidistant from one another on the color wheel.

• Their complementary colors (green, violet/purple and orange respectively) are opposite them on the wheel, as are the complementaries of all the other colors, for example, yellow-green opposite violet-red.


The Color Wheel

• A color circle, based on red, yellow and blue, is traditional in the field of art.

• Sir Isaac Newton developed the first circular diagram of colors in 1666.

• Since then, scientists and artists have studied and designed numerous variations of this concept.

• Differences of opinion about the validity of one format over another continue to provoke debate.

• In reality, any color circle or color wheel which presents a logically arranged sequence of pure hues has merit.


Ananlogous Colors

• Analogous colors are any three colors which are side by side on a 12 part color wheel, such as yellow-green, yellow, and yellow-orange.

• Usually one of the three colors predominates.


Complementary Colors

• Complementary colors are any two colors which are directly opposite each other, such as red and green and red-purple and yellow-green.

• In the illustration, there are several variations of yellow-green in the leaves and several variations of red-purple in the orchid.

• These opposing colors create maximum contrast and maximum stability.


Monochromatic Colors• The monochromatic color

scheme uses variations in lightness and saturation of a single color.

• This scheme looks clean and elegant. Monochromatic colors go well together, producing a soothing effect.

• The monochromatic scheme is very easy on the eyes, especially with blue or green hues.

• You can use it to establish an overall mood.

• However, it can be difficult, when using this scheme, to highlight the most important elements.


Source: Color Wheel Pro

Color Schemes Based Upon Nature• Nature provides a

perfect departure point for color harmony.

• In the illustration, red yellow and green create a harmonious design, regardless of whether this combination fits into a technical formula for color harmony.


Color Context

• How color behaves in relation to other colors and shapes is a complex area of color theory. Compare the contrast effects of different color backgrounds for the same red square.

• Red appears more brilliant against a black background and somewhat duller against the white background.

• In contrast with orange, the red appears lifeless; in contrast with blue-green, it exhibits brilliance.

• Notice that the red square appears larger on black than on other background colors


Research on Color and Learning• Pett and Wilson (1996) concluded that the effect of

color on learning is slight.• Their research focused on the effects of color on

attention, search tasks, other objective and non-objective measures of learning, and the use of color for cathode ray tube (CRT) displays.

• Although the measurable effects of color may be slight, colored materials are preferred and they are used almost universally.

• Therefore, designers of instructional materials need to use color wisely by paying attention to the physiological and psychological effects of color and the effect of color on learning.


Research on Color and Learning• Lohr reports (pp.265-266) that some reseach

indicates that “the use of color facilitates cognitive processes involved in learning, such as memory support, recall of information, and promotion of interaction between learners and content.”

• Some findings indicate that color can be distracting and inhibit performance.

• Some additional findings: Learners prefer color materials Color and help learners locate information

quickly


Research on Color and Learning: Physical Facilities

• Preschool and Elementary school prefer a warm, bright color scheme that compliments their natural extroverted nature .

• Cool colors are recommended for upper grade and secondary classrooms for their ability to focus concentration.

• Hallways can have more colored range than in the classroom and be used to give the school a distinctive personality.

• Libraries utilize a pale or light green creating an effect that enhances quietness

• and concentration. (Engelbrecht, 2003)


Instructional Functions of Color

1. Labeling – differentiating information

2. Identifying quantity and Measurement – charts, graphs, maps

3. Representing reality4. Create aesthetic appeal


To Use or Not to Use Colors

Pro:• May be necessary for

meaning• Research-based

values for using colors in education (Misanchuk, referenced on p. 266)

• Learners prefer color

Con:• May not be

necessary• May be distracting,

particularly if not functionally related to the learning task

• Lack of access to technology for adequate access to color


Choosing Color for Instruction

SELECTION• Colors that fall in the middle spectrum (yellow,

green, white, and blue) are associated with greater acuity and perception

• Warm colors (yellows, reds, and oranges) tend to advance – useful in figure-ground applications

• Cool (blues, greens, violets) colors tend to recede• Darker colors tend to stand out more than lighter

colors• Black, white, and gray facilitate selection• Use darker background colors when the overall area

is small


Choosing Color for Instruction

ORGANIZATION• Choose color that can create hierarchy• Facilitated by creating separate categories or layers

for discrimination and recognitionINTEGRATION• Color can tie complex information together

aesthetically, organizationally, and psychologically• Color can help the learner see “the big picture”

(gestalt)• Four color schemes contribute to the learner’s sense

of gestalt:1. Color based on the color wheel2. Color based on inspiration from nature and art3. Color based on color palettes in templates4. Color based on psychological associations


Choosing Color for Instruction:Final Thoughts• Color can influence moods• Color also has cultural implications• Interesting web sites for more information

concerning implications of color and culture: http://www.princetonol.com/groups/iad/

lessons/middle/color2.htm http://webdesign.about.com/library/weekly/

aa070400a.htm http://www.colormatters.com/culturematters.html http://faculty.ed.umuc.edu/~dgriggs/

instructional_activities/color/color.htm


Choosing Colors to Enhance Figure-Ground• For maximum contrast, use:

Black on yellow Green, red, or blue on white White on blue Black on white Yellow on black

• Cool colors = formal and distant; retreat

• Warm colors = informal, approachable; advance

Depth

• Depth is how deep or three-dimensional a design or piece of artwork looks.

• Artists create depth and space with a variety of techniques and tricks that fool the eye.

• The illusion of space can be created using color, line, texture, and shape.

• Western artists in the 16th century developed a mathematical system to create the illusion of depth called perspective.


Depth

• Depth is critical in facilitating the process of selection, because it has the potential to make elements in a visual stand out from each other.

• Depth refers to three essential elements:

1. Scale – relative proportions of objects; comparisons of size

2. Dimension – shadows produce the illusion of depth in two-dimensional elements

3. Texture – creates depth, advances images

Module 10. Color, Depth, and Space23

Space

• Space is an important tool for clarifying text. Increases rate of reading Helps learners access more personally relevant elements

in the material Enables learners to discern the structure of the document

• Space imparts a perception of timing – elements that are farther apart communicate the perception of distance in time

• Space helps balance images by using: Symmetry Asymmetry White space


Positive and Negative Space

• Positive space is the part of a design that your eye sees because something actually is there.

• There are several rules or guides to positive-negative (or, figure-ground) relationships: Positive space/figure is where information (main

point of interest, elements) are, and negative space/ground is everything else.

Positive space/figure is usually smaller than negative space.

Figure has contour, ground does not. Figure and ground cannot exist independently. Figure usually occupies more space in the

composition than ground. Figure is usually perceived as being closer than

ground.



• Negative space is the empty space around shapes and forms.

• In the photo, the black area is negative space and it serves to balance the area in which the marmot and rock occupy.

• Areas of a picture that contain "nothing" are important visual elements that provide balance in an image.


Trapped White Space

• If you don't intentionally push them to the middle, you can trap white space right in the middle of your page.

• Why is this a problem?

• Your eye tends to fall in the center of a page, and if there's nothing there, it looks like something's missing.


Solution: Reposition or resize elements to rework the negative space.

Here is an example of trapped white space, in which elements get gradually added to a page.


• Sometimes, positive and negative space can be confused as the eye/brain try to make sense out of what is actually seen.

• Let us look again at a familiar image:


References and Resources

• Articles about culture and color on the Web: http://webdesign.about.com/lr/color_symbolism/22985/1/

• Color Wheel Pro (Adobe) – 30-day preview download: http://www.color-wheel-pro.com/index.html

• Engelbrecht, K. (2003). The impact of color on learning. http://www.coe.uga.edu/sdpl/HTML/W305.pdf

• Mike’s SketchPad http://www.sketchpad.net/basics6.htm

• Prett,D., & Wilson, T. (1996). Color research and its application to the design of instructional materials . Educational Technology Research and Development. 44, 19-35.


fall 2009. unit 2. development module 10. color, depth, and space

Documents

cool colors

warm colors

color relationships

cooler colors

opposing colors

complementary colors

primary colors red

warm green